Colours
Ashley Eriksson
K Records KLP 245
2013
I bought this from K Records' mail order service after I caught Eriksson opening for Mount Eerie at an art space in downtown L. A. in 2013. She delivered a mesmerizing set that even kept the hipsters quiet. I probably would have bought this album eventually anyway because I'm a fan of her band Lake and have several of their albums. This does not sound much like Lake even though two of Eriksson's bandmates play on the record. The record begins with "March of the Conch" which is a slow keyboard driven instrumental that has a light, airy feel reminiscent of New Age type music. "Why Are You So Helpless?" continues the gentle pace as Eriksson croons about unhappiness and repression using images from nature. I like the way the song gradually builds in strength leading to a majestic finish. "West of the Mountain" is a dreamy ballad that celebrates nature. It is driven by a big bass line with chamber pop keyboard flourishes. The record perks up with "Arguably" which is a bouncy tune that approaches sunshine pop. The horns by Bill Kautz give the song an even brighter sound. The lyrics praise love and friendship. The record slows down again for "Ett Stilla Regn" which is a cover of a 1972 song by Swedish pop singer Ted Gärdestad. Eriksson sings it in Swedish. It is a song that uses a lyrical description of rain to describe the singer's feelings. The weather imagery continues with "Good Storm" which equates storms with emotions. The song is glacially slow with an ethereal feel to it. "Colours" is another quiet song that has a cozy domestic feeling as she describes waking up in the morning. It is rather twee, but I dig the lovely vocal. Side two opens with "Bury the House" which has more energy than most of the tracks. It has a repetitious structure that I find hypnotic. "Mother Nature's Promise" is similarly simple and repetitive, like lethargic synth-pop. "Sunset" returns to the serene dreamy sound of the songs on side one. "Humming in the Dark" is propelled by an insistent piano riff that is suggestive of locomotion which is appropriate for a song about humming while walking in the woods. "Organ Magic" is a relaxed instrumental with a slight exotica feel to it. "In the Stubborn Eyes of a Demon" looks for hope and optimism in the face of evil. The music is delicate and sensitive and gives the album a sweet finish. If you are looking to rock out, this is definitely not your record. It is introspective and subtle and requires patience to fully appreciate its charms. I like to play it late at night or on rainy days when the abundance of nature imagery has extra resonance. I find Eriksson's gentle voice to be very soothing and entrancing and she has created alluring soundscapes that enhance her voice's impact. This is a beautiful album that provides a sublime and tranquil listening experience. Recommended to fans of Lavender Diamond.
Ray Charles
Ray Charles
Atlantic 8006
1957
When Atlantic Records put out their wonderful CD box set of Ray Charles recordings for the label, they called it "The Birth of Soul" which seems accurate to me. If anyone invented soul music, it was Ray Charles. However the music on this album is mostly rhythm and blues, although it is labeled rock and roll on the cover and the liner notes describe Charles as a blues singer. This was Charles' first album on Atlantic although it is basically just a compilation of his past singles for the label. The earliest track is the classic "Mess Around" which was recorded and released in 1953. The song was written by Ahmet Ertegun under the pseudonym A. Nugetre. Charles lights up this smoking boogie-woogie song with his ferocious piano playing and a red hot vocal. It is one of the most exciting recordings that he ever made. The b-side of the single was Charles' own "Funny (But I Still Love You)" which is a bluesy torch song. Charles' singing and playing make it memorable and I like the romantic guitar solo as well. Lowell Fulson's "Sinner's Prayer" was originally the b-side of the 1954 single "It Should've Been Me." It was recorded at the same session that produced "Mess Around." It is a blues song with an authoritative vocal from Charles backed up by his typically dynamic keyboard work. The self-penned "Don't You Know" was also a 1954 single. It is a slight song but Charles sings his heart out on it in addition to delivering an energetic piano solo. The song was paired with Charles Calhoun's "Losing Hand" which is a slow blues propelled by Charles' piano runs. Charles wrote "I Got a Woman" which was a big hit single in 1955. It is arguably the definitive recording of Charles' rhythm and blues period, an absolutely perfect song that exemplifies all the best qualities of the genre. Its flip side was "Come Back Baby" which was credited to Charles although it was actually written by Walter Davis who recorded it in 1940. It also was a hit and deservedly so. Charles' vocal is incredibly expressive, a landmark in the development of soul singing. Charles' "A Fool For You" was a 1955 single. It also has a stirring vocal that enables this otherwise pedestrian song to carry a lot of weight. Charles wrote the b-side "This Little Girl of Mine" which is a jumping rhythm and blues cut. Renald Richard's "Greenbacks" came out in 1955 as well. It reminds me of the jazzy recordings Charles made prior to signing with Atlantic when he was aspiring to be the next Nat King Cole. Henry Glover's "Drown In My Own Tears" was a hit single in 1956. Charles' bluesy vocal is rich with feeling, truly stunning. It gives me goosebumps. The single was backed with Charles' "Mary Ann" which has a Latin sound to it which gives it extra swing. Charles' magnificent "Hallelujah I Love Her So" also came out in 1956. The song reveals Charles phenomenal growth as an artist, as he moved beyond a traditional rhythm and blues sound into his own unique style combining blues, jazz and gospel, the nascent sound of soul. Charles' "Ain't That Love" was the most recent single on the album. It was recorded in late 1956 and released early in 1957. It is the song that most approaches soul particularly in the gospel inspired interaction between Charles and the background singers although the sax solo is still pure rhythm and blues. This song foreshadows the sound that Charles would further develop on his later Atlantic recordings. If you have any interest in the transition from rhythm and blues to soul, this is an essential record. Half of it is sheer genius and the remainder is outstanding. There has never been a better pop singer than Ray Charles. This music is not only important and influential, it is also endlessly compelling and stimulating. I've played it countless times and it never loses its appeal. Recommended to fans of Aretha Franklin.
Angelic Swells
Neverever
Slumberland Records SLR 117
2010
I first became aware of this band when I caught them opening for Veronica Falls at the Bootleg Theater several years ago. I loved their set. Lead vocalist Jihae Meek was extremely charismatic and put on a great show. Afterward I wasn't sure how good the music really was though, I might have just been swayed by the theatrics. So eventually I bought their debut album to see if they were as good as I remembered. The short answer is "not really" but I like the album anyway. All but one of the songs were written by Meek and her guitarist husband Wallace Meek. They are mostly retro in style and content as is immediately evident in the opening track "Here Is Always Somewhere Else." It begins with the melodramatic sound of thunderclaps and rain before lurching into a lovely romantic ballad that could have been recorded by Timi Yuro if she knew some guys with jangly guitars. "Blue Genes" increases the tempo but remains rooted in the girl group era sound although I can't recall any early 60s group ever singing about incest. The song is indeed about a brother and sister who are in love with each other. It was originally recorded as a single by the Meeks' previous group, The Champagne Socialists. "Coconut Shampoo" is an ultra-poppy rocker about horny teenagers. The Beach Boys style oohs in the chorus put the song over for me. "Now" is a cover of the Plimsouls' classic song. Neverever slows down the song and mutes the rocking edge of the original making the song sound prettier and more romantic. I would not say that I prefer it to the original, but this version suits Meek's voice extremely well and she delivers a winning performance. "Young Runaways" mixes New Wave power pop and girl group vocals to deliver another ode to teenage lust and cruising. It was originally the b-side of The Champagne Socialists' single. Side two begins with the oddball "Cowboys and Indians" about cowboy and Indian lovers on a murderous rampage. This rocking song is driven by dense percussion reminiscent of Bow Wow Wow. "16th Wonder" is a dramatic shift in tone and style. It is a romantic song about teenage heartache featuring jangly guitar and Laena Myers-Ionita's lovely violin lines. It gives Meek a great opportunity to showcase her vocal ability. Rock and roll vulgarity returns full force with "Bitch Boys" which is silly fun. The verses of "Teardrop Tattoo" sound like they were lifted from "A Teenager in Love" by Dion and the Belmonts and the ooh-wee-oohs in the break are straight doo-wop. Meek sings about being threatened with murder by a jealous boyfriend although she seems surprisingly okay with it, even describing it as "true romance." "Young and Dumb" sounds like Lesley Gore crossed with Motown. As you can probably guess from the title it is another tale of ill-fated teenage love. The album concludes with "Underwater Ballet" which is about a guy drowning himself in the ocean for love who changes his mind a little too late. It is a driving, pounding song with a thick sound that reminds me of Best Coast. I love 1960s pop, Motown and girl groups so I have no problem with Neverever's derivative sound, I just wish the songs were more memorable. I enjoy all of them while I'm listening but very few of them stick with me after the record is over. "Now" is easily the best song on the album and they didn't write it. I do appreciate the cleverness of the lyrics and Meek's singing is very appealing which is reason enough for me to give the album an occasional spin. Recommended to fans of the Pipettes.
